Friday Links


“You have the right to remain silent! Anything you say can and will be used against you!” a law enforcement official advises Superman, who foolishly decides to waive those rights immediately. “I’m guilty!” Superman exclaims. Um, perhaps he should have retained counsel? This scene comes from the cover of Action Comics #556, published way, way back in 1984, but certainly long enough after the Warren Court jurisprudence for Supes to be aware that he shouldn’t make such declarations of guilt. Oh, my.

Well, it appears that a 2012 post made Reddit last week. How about that?

Don’t forget: You can follow Abnormal Use on Facebook here and on Twitter here. Drop us a line sometime, will you?

Our favorite legal tweet of late (dealing with signature lines in lawyer emails):


Friday Links


So, Superman says, “Robots of the jury, you cannot condemn Luthor for a crime against your world. Despite his evil past, he is innocent! And I will prove it with the next witness!” And then Luthor thinks to himself, “Superman must be mad to defend me! All the evidence proves I’m guilty!” So, that’s the dialogue on the cover of Action Comics #292, published way, way back in 1962. Now, perhaps things are different with robot juries on other planets, but considering his history on Earth, why is Supes volunteering to meet a burden of proof here? Doesn’t the robot society value the presumption of innocence? What gives? And by the way, who is Superman’s next witness? Surely, it’s not Luthor himself?

Apparently, according to this tweet, someone at the Conference of Government Mining Attorneys this week dissed the movie Armageddon!

If you’re a reader of this site, you may know that we maintain a Facebook page for this blog. You can find that here. Guess what? We here at Gallivan, White, & Boyd, P.A. have now also established a Facebook account for the firm more generally. You can access that you Facebook page here. We hope you’ll check it out.

Our favorite legal tweet of late:

Seventh Circuit Finds Statute Of Repose Bars Products Action Involving Muzzleloader Rifle Purchased In 1994

As you know, we here at Abnormal Use love writing and blogging, so much so that our editor Jim Dedman is now contributing posts to other online venues.  Recently, his piece, “Seventh Circuit Finds Statute Of Repose Bars Products Action Involving Muzzleloader Rifle Purchased In 1994,” was published by DRI’s “Strictly Speaking” products liability newsletter.

Here’s the first two paragraphs:

Rejecting a Plaintiff’s negligence and strict liability claims in a case involving a muzzleloader rifle, the Seventh Circuit recently affirmed an Indiana federal district court’s grant of summary judgment on statute of repose grounds. Hartman v. EBSCO Indus., Inc., — F.3d —-, No. 13–3398, 2014 WL 3360799 (7th Cir. July 10, 2014). In so doing, the Seventh Circuit analyzed the two exceptions to Indiana’s ten year statute of repose and found that neither allowed the Plaintiff to bring claims involving a 2008 accident involving a LK–93 Wolverine muzzleloader first purchased in 1994.

For fourteen years, the Plaintiff had used his muzzleloader rifle (the somewhat complicated inner workings of which the Seventh Circuit explained in detail). In fact, he estimated he had fired it between 500 and 600 times prior to his November 2008 accident. His father had purchased and given to him the original rifle in 1994, but in 2008, the Plaintiff purchased a Knight 209 Primer Extreme Conversion Kit, an accessory designed to “deliver a hotter spark and thereby ignite Pyrodex pellets more reliably.” Plaintiff installed the kit himself.

To read the rest of the piece, please click here.

Friday Links

Above, you’ll find the cover of Action Comics #286, published way, way back in 1962. As you can see, Superman stands before “The Jury of Super-Enemies,” a body composed of Saturn Queen, Cosmic King, Brainiac, Lightning Lord, Electro, and of course, Lex Luthor. We’re thinking that perhaps Supes should have simply waived his right to a jury trial if these villains were to serve as the fact finders. In fact, imagine how bad the venire panel must have been for old Supes to end up with this lot serving as the jurors.

Okay, so footnote 7 of this recent Texas Supreme Court case cites to and quotes The Big Lebowski. We’re not entirely certain what to think about that, but now we’re anxiously awaiting a Miller’s Crossing citation. (Hat Tip: Paul Szoldra at Business Insider).

The music site Loudwire offers an article entitled “10 Infamous Rock Lawsuits.”


You might recall that back in April of 2011 we interviewed Brian Dale Allen Strouse of The Lawsuits, a Philadelphia rock band. Well, The Lawsuits are releasing a new EP, Tumbled, later this month. (That’s the cover depicted above.). For more information, see here.

A reader directs us to “Understanding North Carolina’s Proposed Constitutional Amendment Allowing Non-Jury Felony Trials” by Jeffrey B. Welty and Komal K. Patel. If you’re in North Carolina, you may want to read it before election day.

Our favorite recent tweet must be this one:

September 11

Thirteen years after that awful, awful day, we pause to reflect upon the tragic loss we all experienced.

Over the years, on this anniversary, we’ve attempted to offer some thoughts on what happened. Of course, it’s always difficult to do, both because of the magnitude of our collective sorrow and the fact that there simply are no words which can truly capture our feelings about the effects of a national tragedy. On the tenth anniversary, we briefly noted:

There is no denying that we are a different country today than we were on September 10, 2001.  And yet we are also the same country – a place where we have the freedom to disagree with anyone about any subject, openly and in public.  Blogs like ours are not possible in many of the world’s countries, and we are thankful for the opportunity to express our opinions, and  read the opinions of others, in a forum that sparks lively and at times heated conversations. We now have to take off our shoes before passing through metal detectors at the airport, and the purse searches at the ballpark are a little more thorough than they used to be.  But we are still free to disagree with one another and, for that matter, our government.  In that way, the attacks failed miserably to achieve their purpose. But on this day, on this anniversary of one of the greatest tragedies this nation has ever seen, we pause to reflect upon those who lost their lives that day and those who heroically came to the scene to respond to what had happened.  They and their families remain in our thoughts and prayers.

Last year, on the twelfth anniversary, we prepared a lengthier post in which we recalled our own experiences in law school that day and wondered what it must have been like to be practicing law on that day.

Today, as we have done before, we turn to the words of Baylor School of Law professor Gerald Powell who, on at a commencement ceremony on February 9, 2002, shared these thoughts:

You can no longer focus on just yourself, on your career, or even on just your own family.  More will be asked of you.  As Americans, and especially as lawyers, you will carry with you great responsibilities.  After September 11, each of you must be willing to stand guard over our liberty, to serve your country selflessly, and, if the need arises, be a hero.

Each of us must take our turn as sentinels.  And as lawyers we have our own post to man.  Our watch is over the Constitution.  Our perimeter is the outposts of liberty.  Our weapon is the law.  Our mission is to see that justice is done.

[W]e also hope that each of you will have inside of you that seed of heroism perhaps dormant until a moment of truth, when it will spring forth in the energizing light of adversity to give us the hero we need.  And until that time comes, or whether it ever comes, we hope and pray that you will act heroically in the conduct of your everyday lives, professional, public and personal.

As we make it through this difficult day, we’ll do our best and try to keep Professor Powell’s words in mind.

Abnormal Interviews: Lawyer and X-Files Actor Zachary Ansley


Today, Abnormal Use continues its series, “Abnormal Interviews,” in which this site will conduct interviews with law professors, practitioners, and makers of legal-themed pop culture. For the latest installment, we turn to lawyer Zachary Ansley.  Before becoming an attorney, Ansley had a varied and successful career in film and television. Twenty-one years ago today, on September 10, 1993, he appeared as alien abductee Billy Miles in the pilot episode of “The X-Files.” Can you believe that the first episode of “The X-Files” aired 21 years ago? That character became central to the conspiracy mythology in “The X-Files,” and Ansley returned to the show on four more occasions. Over the course of his run on the series, Billy Miles was abducted by aliens at least twice, killed at least twice, and transformed into a formidable alien super soldier in pursuit of Agent Scully and her  baby. To refresh your recollection, here’s how the The X-Files Wiki begins its very detailed entry on Miles:

Billy Miles was the son of Detective Miles and a resident of Bellefleur, Oregon. He claimed to have been under temporary alien control several times in his life. After one final abduction, Miles was genetically altered into a human/alien hybrid, and became a super-soldier.

For good measure, here’s how The X-Files Wiki describes the super-soldiers on the series:

Super-soldiers are human replacements that look human but are actually a type of alien. Fearless and virtually unstoppable, these aliens are not directed by anyone and are answerable to no-one except their own biological imperative to survive. They want to knock out any and all attempts by humans to survive the alien colonization of Earth and were created to aid in the extraterrestrial repopulation of the planet. Their collective name, “super-soldiers,” derives from the aliens themselves, but was often used cynically by humans.

Ansley is now a shareholder at Owen Bird in Vancouver. He practices in the areas of civil litigation, employment law, intellectual property and other areas.

To commemorate the anniversary of the pilot’s airing, we sought an interview with Mr. Ansley, who kindly granted our request. Without further ado, the interview is as follows.

JIM DEDMAN: You appeared as Billy Miles in five episodes of “The X-Files.” The first being the pilot, which aired 21 years ago this month. How did you first get involved with the show and get that part?

ZACHARY ANSLEY: I was an actor in Vancouver. I was a child actor in Vancouver, actually, and I was part of the Vancouver Youth Theatre from the age of 12 on, and so what happened was, when the film and television industry started to grow in Vancouver, the Vancouver Youth Theatre was there to sort of feed it with young talent. So casting directors would come to the Vancouver Youth Theatre, and so that’s how I became involved in the industry. And prior to “The X-Files,” I had done some pretty high level, I guess, or high exposure stuff in Canada. I had done a few movies of the week, I had done a few Canadian feature films, so I was known to casting directors in Vancouver at that time, and when “The X-Files” pilot came along, I auditioned and was fortunate enough to get the roll.

JD: Now, [X-Files creator] Chris Carter did an interview about a year ago with an “X-Files” fan site, and they asked him actually one of the questions I was going to ask you, which is if there is a favorite moment or memory from the filming of the pilot that sticks out in your memory. One of his was your audition, and so I wanted to ask you that same question. What is it about filming the pilot that sticks out in your mind these years later?

ZA:  . . . I had never heard that one of Chris Carter’s fondest memories was my audition. That’s very kind of him to say that.

[T]he most exciting part about doing that pilot was just getting the part, which was kind of before I went to acting school in New York City. It was actually September of ’93 that I started acting school in New York City, I believe. That was at Circle in the Square theatre school in New York, so this was before then, obviously, and I was hungry for work, and I was just happy to be part of something that could potentially grow into something a lot bigger than a pilot. And it eventually did, so that was very exciting. In terms of the actual filming itself, I do remember Chris, sort of in his quiet and confident way, sort of tending to the projects, reviewing each unit that was filmed, and reviewing playbacks and making sure that the images and the scenes aligned with his vision, and I think, you know, I didn’t have a lot of interaction with Chris while we were filming outside of after the audition, but I do recall him being there and attending to the details and making sure, as they say, that it aligned with his visions, and that they got it right, and that we were getting it right. So, I remember that, and I remember also working with Gillian Anderson and David Duchovny, and that was and they were very easy to work with and stayed very professional. And also you could tell that they were also trying to figure out how to do this right and what was the right sort of tone for the show and their characters and their relationship, and you know, you kind of got a sense that these people were working very hard to make this work, and so that was very exciting to just be a part of that.

JD: Did you have any idea at that time that it would become this huge cultural phenomenon?

ZA: I didn’t, but at the same time, not that I thought that it wasn’t going to be that, either. I mean, it was just so fresh and new to me that I was just excited to be a part of it, and I was certainly hopeful that it would become something much bigger, and I was just sort of focusing on that moment and not letting myself think too much into the future. And, of course, my character at that time didn’t have a future with the show, so maybe that played into sort of my ability to focus on the pilot episode itself.

JD: Well, that anticipates my next question, which is, seven years later, you come back to the show starting with the Season 7 finale. How did that come to be?

ZA: Well, it was very interesting. I certainly didn’t expect it. It was a pleasant surprise. At that time, of course, “The X-Files” had moved the filming . . . from Vancouver back down to Los Angeles. It started filming in Vancouver, and then after a certain amount of seasons, I think it was 6, moved down to Los Angeles, so I they called me, and I didn’t expect it at that time. I was finishing my last year of undergrad at the University of British Columbia. I remember it was sort of final exam time that I got the call that they wanted to reprise the character and bring it back, and the reason they were going to bring it back was because David Duchovny’s character was maybe going to be leaving the show, and they wanted to sort of bring it back full circle to the original “X-File,” which of course, Billy Miles was a part of. So, I was very excited to get that call and happy to come back to the show.


JD: And the episodes you were in aren’t just regular episodes of the show; they were big mythology episodes with the alien abductions, and of course, Fox Molder gets abducted, and Scully gets pregnant. How did it feel to be a part of those sort of big picture episodes of the series?

ZA: Well, going back to the show after that length of time, when it already was a cult phenomenon big hit, at that point, was really special. I mean, it was just an honor to be back, and I felt very fortunate to be doing it and to be reprising the role of Billy Miles, and especially because he becomes abducted again, and he comes back with these special powers that are sort of similar to like the character in Terminator 2 where he can sort of regenerate himself in different shapes, and they can try to kill him in trash compactors and elevators shafts, but he keeps coming back to life. So, I mean, that added a whole other dimension to my character that was just a lot of fun to play, and of course, was fun to be a part of those mythological episodes near the end.

JD: And looking back in 2014, what would you say the legacy of the show is?

ZA: Well, I mean, the legacy of the show, I think, is just how far it sort of popularized the science fiction and conspiracy kind of episodic television – how far it brought that particular component into pop culture that I don’t think was there. Obviously, it was there, partially, but it certainly wasn’t there to the extent that it was after “The X-Files,” and I think it’s obviously generated a lot of buzz, and shows have attempted to repeat that success. But I think it was, you know, the pioneer in how far it was sort of pushing that conspiracy theory, “someone is watching you out there” genre that I don’t recall being there as much as when I was younger.

JD: How did you go from acting to the legal profession?

ZA: Well, that’s a good question. I mean, I get asked that a lot when people ask me what I do now or what I used to do or find out that I used to act. It didn’t seem like such a stretch to me. . . . I didn’t welcome the thought of always auditioning for your next role, even when you had work, so there was a lack of stability there, a lack of predictability there, when you’re an actor, and you kind of have to embrace that, because it’s just the nature of the beast when you’re an actor, you know, until you’re superstar and you get offered parts all the time. . . .  [I]t kind of wears on you after some time, and I had been an actor, like I said, since I was a child, and I had been doing it for twenty years, actually, before I stopped and went to law school. I did that through undergrad.  . .  . [T]hat lack of control over your own career path kind of began to wear on me a bit, and I started to look for other outlets to engage . . . other interests, such as fundamental legal interests of values in society and how those are reflected in our laws and how those are applied and policy and those kind of things. So, I found myself sort of in my undergrad sort of slowly drifting more [toward] political science and economics themes or interests and a little bit away from the pop culture Hollywood greatest blockbuster hit interest that I had more when I was younger.

JD: Do you think that the acting profession and the legal profession particularly litigation requires similar skill sets?

ZA: I do, certainly. I mean, I don’t think they are identical, but there is more overlap than people might appreciate just on first blush. I think that one of the things that all actors have to do in any given theme and under any arch of any part is follow through on an objective. And that is when you’re in a scene, and you’re playing that scene, you want something out of the other person or out of the event, and everything you do is kind of funneled through that objective, whether you go about it directly, whether you go about it indirectly, whether you go about it in a covert way. As a lawyer, you also follow objectives. You have your instructions from your client, you have an objective when you’re in court, so in that sense, it’s similar. Also, of course, when you’re a litigator, and you’re standing in front of a judge or a jury – I haven’t done a jury trial yet, and I think they are less common in Canada than in the United States – but if I was so fortunate to be in front of a jury, you have to communicate, you have to connect, you have to appreciate how your argument, how your evidence, is landing, with the judge or your audience. So, in that sense, that is very analogous to an actor being on stage or having a sense of the audience behind the camera. You have to have that sense as to how this is registering with your audience. . . . [A]s an artist and an actor, you are maybe, and this is more philosophical, if you permit me, but I think you’re a little bit more on the outside of things, kind of commenting on how things are happening, and whereas a lawyer, you kind of feel closer to sort of the center of deals and policy and the messy stuff . . . . So, as an actor, you’re looking at it, observing and commenting on it, whereas a lawyer, I think, you’re a little bit closer to the nub of it.

JD: In 1993, you played Robert De Niro’s son in This Boy’s Life. You mentioned a moment ago that in the acting profession you got some life education yourself. What did you learn about acting and life from Robert De Niro at that time?

ZA: Well, he, you know, he’s one of the superstars not only in acting, but he’s like an actor’s actor, if you will.  . . . I was really fortunate. I just watched him, how he was a constant professional, he came in prepared, he was able to, he knew his lines cold, he was able to drift off outside of the script and play whatever came to him. He had a very strong idea of who his character was and wanted to achieve, and it was really impressive to watch him just come on to the set. He was there to do a job, and he was able to carry on long after the scene ended. He was able to sort of carry on in that character and keep ad-libbing . . . . [S]ometimes the director would just let the camera roll and see what came out. So, it was, as an actor who at that point was going on to acting school, I was like a sponge, just kind of watching hanging out when I wasn’t in the scene myself and just see what things I could learn from him.

JD: You were in a holiday movie with John Schneider and Tom Wopat that was not a Dukes of Hazard related project. How did that come to be?

ZA: Well, that was the movie of the week that was shooting in Vancouver. It was “Christmas Comes To Willow Creek,” I believe that’s the name of it, and I’m not sure the background of it, or how it came to be, but I imagine that it was a vehicle for Mr. Schneider and Wopat to reprise their role of brothers even though they weren’t the “Dukes of Hazard” brothers but they were brothers in the movie. . . . [A]gain, I was fortunate enough to be a young actor in Vancouver that was sort of – that was kinda of my – I had a series of parts where I was the angry, young man and it was all about the relationship with the father, and I would always rebel against my father, and Tom Wopat was my father, and he kind of handcuffed me to the truck and took me on this journey we were going. I think we were going to Alaska, and so he handcuffed me to this truck, so I was stuck in the truck, and I didn’t want to be there. And so that was the feature of our relationship throughout that movie, and of course, it’s a Christmas movie, so it all ended well. That was a ton of fun. I would say I have very fond memories of working with those guys. And I was in high school then in Vancouver, so that was a nice break from high school and going out and hanging around a set for four weeks with those guys was a lot of fun.

JD: Getting back to “The X-Files,” of the episodes in which you appeared, which one was your favorite, and why?

ZA: Well, I think that the pilot was, just because of what it went on to become, and for those reasons that I gave earlier on that, there was a real buzz on the set initially in the pilot, and I played an abductee who abducts others and offers them to the light above. It was a complicated character, so I mean, he kind of comes out of that and is interviewed at the end so there’s levels of a sense of guilt of what he had done, a level of anger of you know of being abducted, of course, and a sense of vulnerability of how his body and being was taken over so that was kind of a complex, and it’s obvious that I didn’t have personal experience with, but I could relate to all those different elements of it and try to put it together in the character. So it was probably the pilot episode, although, of course, I was very happy to go back and play this, they say the Terminator 2 role, where I can’t be killed and can take all sorts of different shapes.

JD: Well when you came back and became the sort of transformed alien assassin, after that one scene in the “Deadalive” episode, were you ever able to eat strawberry jam again?

ZA: [Laughter] . . .  I didn’t take that home with me, so to speak.

Friday Links


You know, we must ask what exactly is occurring on the cover of Adventure Comics #370, depicted above and published way, way back in 1968. Our heroes face “The Devil’s Jury,” suggesting perhaps that Superboy did not retain a jury consultant. “Legionnaires, for numerous acts of anti-crime, I sentence you to the Devil’s Island of Space!” exclaims the sorcerer jurist. That sounds unpleasant. Why is it that villains are always sentencing people to vile punishments at mock tribunals? Why are they concerned about the appearance of due process? This makes little sense.

Apparently, Thomson Reuters is officially retiring Westlaw Classic. We don’t know what we are going to do without it.

Okay, the rock band Kiss is being sued by a security guard claiming injuries arising from confetti. Yes, you read that correctly: confetti. For more on that, see here.

Guess what? GWB’s own David Rheney was recently named Lawyer of the Year in Insurance Law for Greenville by Best Lawyers in America. See here on that story.

Here’s our favorite tweet of the week from Texas country musician Owen Temple:

Happy Labor Day!


As we often do, we were scouring the Internet for an appropriate comic book cover to use for today. There are not many comic book covers dedicated to Labor Day. However, the above comic book, Batman: Li’l Gotham #9, may suffice. Published earlier this year, this issue features a story which takes place on Labor Day (if you can believe it). Here’s the summary from the indispensable Comicvine website:

When Batman and Robin chase the cunning Clayface into Gotham City’s biggest Comic-Con, they run into security, other heroes, and trouble! And on Labor Day, Jenna Duffy—carpenter to Gotham City’s criminal class—takes the day off. But will interruptions doom her personal project?

Who knew?

On another note, we hope everyone is enjoying the Labor Day weekend. We here at Abnormal Use wrote this post far in advance and set it to run this morning so that we could celebrate the occasion. Although some of us here are a little disappointed with the results of the South Carolina football game on Thursday, we have mostly recovered. We trust that you have taken some time for yourself and your family and don’t overly dread the return to work tomorrow.

For our past Labor Day posts (including some other efforts to find labor related comics), please see here, here, here, and here.

By the way, this is our 1,250th post! How about that?

Friday Links


Okay, so above is the cover of Spider-Man: The Arachnis Project #3, published back in 1994.  The cover boldly proclaims: “The Jury is in and the verdict for Spider-Man is death.” Well, Spider-Man is certainly not in a courtroom. According to Wikipedia, “[t]he Jury is a fictional group of armored vigilantes in the Marvel Comics universe.” Get it? They’re armed vigilantes, and they call themselves “The Jury.” Sigh. In light of that, we suppose the cover above depicts Spider-Man exercising his peremptory challenges. Yes, you read that right. We tried to make a joke about a comic book vigilante group called The Jury. We’re sorry about that.

On a more serious note, the U.S. District Court for the District of South Carolina recently issued the following notice about its local rules:

The Local Civil and Criminal Rules for this district were amended effective August 20, 2014.  The amendments include numerous stylistic changes including changes to capitalization, punctuation, citation form, and sentence structure.  Two rules were modified substantively:  Local Civil Rule 83.I.07 (Withdrawal of Appearance); and Local Civil Rule 83.VII.07 (Application for Attorney Fees [in Social Security cases]).

The amended rules as well as redlined comparisons of the most recent amendments to the November 15, 2013 versions of the Local Civil and Criminal Rules are available on the court’s website ( under the “What’s New” and “Rules” tabs.

We have to hand it to the Popehat Twitter account, which has perfectly captured the ennui of Star Wars fans of a certain age in the tweet below. As you might guess from our posts here and here, we are sympathetic.

Finally, we hope everyone has an eventful and safe holiday weekend. We here at Abnormal Use will be watching college football.

Abnormal Interviews: Lawyer and She-Hulk Comic Book Writer Charles Soule


Today, Abnormal Use continues its series, “Abnormal Interviews,” in which this site will conduct interviews with law professors, practitioners and makers of legal themed popular culture. For the latest installment, we turn to Charles Soule, the writer of the current She-Hulk comic book series. As we have noted once and again (here, here, here, here, here, here, and here), the Marvel comic book superhero She-Hulk is, in her regular life, a practicing lawyer. As you also may know, we here at Abnormal Use like to write about legally themed comic books, and occasionally, we have been fortunate enough to interview creators of them. Back in 2011, we interviewed Mark Waid, the writer of Marvel’s Daredevil, a series which features a lawyer superhero. Last year, we interviewed Ryan Ferrier, creator of the series Tiger Lawyer. So, today, we are very pleased to run an interview with Charles Soule who, in addition to being a prolific comic book writer, is also a practicing lawyer. How about that? Without further ado, the interview is as follows:

She-Hulk has two full time jobs: lawyer and superhero. But, as an attorney and comic book writer, so do you. What are the challenges facing a practicing attorney who also writes comic books? How do you find the time to engage in both professions?

It can be difficult, honestly. As I type this, I’m in my office thinking about various client issues I need to handle, as well as some writing work that will kick in the very moment I’m done. I can say that law school and subsequent legal practice (both at the firms I worked for initially and in my own solo practice) gave me a pretty solid set of time management skills. I’m used to handling pretty significant workloads and self-motivating. It’s certainly very, very intense right now, but as I’ve told folks who have asked me this question in the past (I get it a lot), I’m writing incredibly fun projects using some of my favorite characters, building an audience, and running my own successful business at the same time. There’s a lot of work, but I wouldn’t characterize it as a chore.

How did you come to write comic books as a practicing lawyer?

In a nutshell, I’ve always been creatively-oriented. I’ve been playing music since I was very young, and I worked regularly as a professional musician for years before and during law school. Some of that continued afterwards, but it became apparent that I might want to find another creative outlet that I could do more easily around the weird, unpredictable hours of being a young attorney. Writing seemed obvious, and I started my first novel during my post-bar vacation. Novels were/are fun, but also very time-consuming, and after a few years of working in that field, I tried my hand at comics, which I had always loved. Cut through about a decade of near-constant work, networking and good times, and here we are today.

How do the deadlines in the comic book industry compare to those in the legal field, and how do you prefer to handle them simultaneously?

Deadlines are deadlines. I think the most important thing about deadlines is just to know they exist. If I know they’re there, I can handle them – I can’t recall a situation where I couldn’t make things work if I had a little bit of time to adjust. There are a lot of deadlines these days, big and small, but I think it helps that it’s my own practice (so I’m the boss…) and that I’ve learned how to manage my time on the comics end really well. I wouldn’t mind fewer deadlines – who wouldn’t – but I’m on it.

shprOne of the most interesting sequences in She-Hulk #1 is the associate performance review when She-Hulk meets the partners at her firm. What was the inspiration for that part of the narrative?

It’s taken very much in spirit from associate reviews either I had or friends of mine had. What you realize as a young associate at a big firm is that you’re courted to join, but once the honeymoon period is over (right around the time of those first reviews), it becomes clear that the goals of the partners do not necessarily align with those of the young associates. That’s totally fine, mind you – it’s a business – but it can be a bit of a rude awakening.

What has been the reaction of your fellow lawyers to the legal scenes in your run on She-Hulk?

So far, all good! I was interviewed by the ABA Journal, which was a fun little professional milestone. I get the occasional quibble over details from lawyers, but it’s mostly pretty relaxed. Attorneys seem pretty pleased to see a lawyer represented even somewhat realistically in comics, even if I mess up the occasional practice point. Fortunately, I can always rely on one line: “The laws are different in the Marvel Universe.” Easy.


In issue 4, She-Hulk meets briefly with Marvel’s other famous lawyer super-hero, Daredevil, who remarks that it’s odd the two have never faced each other in court. First off, is that foreshadowing, and secondly, what specific challenges face those who write about lawyer superheroes as opposed to non-lawyer characters?

Foreshadowing indeed. By this point, it’s out in the world that She-Hulk and Daredevil finally will face each other in the courtroom over issues 8-10 of the series. They’re working on a wrongful death lawsuit out in California. It’s been one of the most challenging things I’ve ever written – you can imagine that writing a case involving two brilliant lawyers, where both have to come off as brilliant lawyers, who can’t be shown in a non-heroic light . . . tricky. But fun! I’m very proud of that storyline.

Throughout your run on the series, we’ve seen immigration hearings, injunctive relief proceedings, daily life at law firms, and even the face of pleadings, all of which are unique to the medium. How do you determine which legal issues appear in your work?

It’s really about areas that I feel like I can write with some authority, or that I’m interested in researching. I’ve always liked admiralty, for example, as well as international law. I’m experienced with immigration, contracts, IP, licensing, transactional work . . . so all that stuff finds its way in. I’m not very experienced with litigation, but that’s the sort of thing people visualize when they think about a legal drama, so I can’t get away from courtroom scenes. I also have a ton of experience (obviously) with running my own small practice, which is something I bring into She-Hulk in every issue.

What is the best way to portray legal issues and proceedings to non-lawyers in a visual medium?

You would have to ask Javier Pulido, Muntsa Vicente, Clayton Cowles, Ron Wimberly and Rico Renzi, since they’re the artists who have to make my chatty scripts work. I’m constantly amazed and impressed by their ability to make ordinary conversations pop. She-Hulk wouldn’t work without the art team, there’s no doubt about it.


Who is your favorite fictional lawyer, and why?

It’s hard to beat She-Hulk for me at the moment, but I’ve always had a soft spot for Lionel Hutz, and Saul Goodman was an amazing character among amazing characters in “Breaking Bad.” I guess I like my fictional lawyers to be on the exaggerated side.


What is the first comic book you remember reading, and how did you comic across it?

Fantastic Four #224 – “Prisoners of the Space Gods.” They get taken prisoner by a bunch of Asgardians (which will happen). My dad bought it for me in the drugstore one day – he got them for my siblings and me to keep us quiet in the backseat – it totally worked.

What do you think is the best pop culture depiction of law school?

You know, law school doesn’t get a lot of representation, at least that I’m aware of. One L, probably?

Are there any legal or comic book blogs that you enjoy that you might recommend to our readers?

Other than this one? I wouldn’t dare.

BIOGRAPHY: Charles Soule, a graduate of Columbia Law School, has been practicing law for over a decade. Prior to starting his own practice (The Law Offices of Charles D. Soule, PLLC in Brooklyn), he worked in the New York offices of Ropes & Gray, LLP. He is a member of the New York State Bar and the American Immigration Lawyers Association. He earned his undergraduate degree from the University of Pennsylvania in Asian and Middle Eastern Studies, with a concentration in Chinese language and history. You can follow him on Twitter here.